: emerging theatre-makers programme
let's make political theatre
Join Polish feminist theatre-maker Nastazja Domaradzka for a FREE online workshop programme, exploring the histories and different methodologies behind political theatre-making.
Rooted in an ensemble-led approach, you will engage with both theory and practice of making political theatre, enabling you to develop tools and skills necessary for approaching making political work.
Over the course of four sessions, you will be introduced to a variety of materials and resources, including recordings of international theatre productions, and engage in practical activities. The workshop programme will culminate with a small sharing of work.
The online workshop programme is open to emerging theatre-makers aged 18-25.
We believe in theatre as a space for everyone and all of our activities and training programmes are offered on a Pay What You Can basis or are free to attend. This workshop programme is part of a series of activities funded by The National Lottery Community Fund.
Saturday 6, 13, 20 & 27
11:00 – 13:00/14:00 GMT
The workshop programme is open to emerging theatre-makers aged 18-25 with some experience such as, but not limited to:
- Recent drama school or university graduates
- Actors, performers, directors, etc. with or without formal training but with some professional experience
Applicants should demonstrate a genuine interest in actively pursuing a professional career in the industry.
Week 1: Saturday 6 March, 11:00 – 13:00
Week 2: Saturday 13 March, 11:00 – 13:00
Week 3: Saturday 20 March, 11:00 – 13:00
Week 4: Saturday 27 March, 11:00 – 14:00
All times are GMT (UK)
The programme will be delivered online via Zoom and due to the interactive nature of the workshops, participants are required to keep their cameras on when possible.
The workshops will include practical exercises and may incorporate some light movement.
Participants will be required to complete some homework in preparation for each session.
Please outline any access requirements when signing up for the workshop programme and we’ll try our best to accommodate these. If you’d like to discuss this before signing up, please contact email@example.com.
All our digital workshops will have a Technical and Wellbeing Support person.
If you have any technical issues or wellbeing concerns during the workshops, you can talk directly to them using the Zoom chat feature. Further information about this individual will be communicated to you at the start of the workshop.
To sign up to the workshop programme, please complete our brief signup form.
Applications are considered on a first-come-first basis until the workshop programme is full. However please note that signing up doesn’t guarantee a place. Once we’ve assessed your details, we’ll be in touch to confirm your place on the programme.
Due to the limited number of places, participants must be available for all the sessions.
The workshops will take place online via Zoom and will require a computer (recommended) or mobile phone, home internet connection (recommended) or sufficient mobile data to support video calling. The Zoom app will need to be downloaded to the device being used, but you will not have to sign up to a Zoom account.
The workshop programme is now fully booked.
If you’d like to be added to the waiting list, please add your details below and we’ll contact you if a place becomes available.
What is political theatre?
From the Partitions of Poland, to Apartheid in South Africa, to feminist theatre in Mexico, theatre continues to play a huge part in opposing various regimes and fighting for pressing social causes. During this initial session, workshop participants will learn about various times in history when theatre positioned itself on the barricades and proved to the world that it can not be viewed merely as entertainment.
Bertold Brecht’s Epic Theatre
Who was Bertold Brecht? What is Epic Theatre? What can we learn from this Marxist father of the anti fascist theatre? In this session participants will familiarise themselves with both the teachings and work of Brecht hopefully understanding that the two can’t be separated. Through analysing and discussing Brecht’s methodologies, including Vefremdung effect, and looking at various texts, this workshop will help its participants to understand the vital role Epic Theatre continues to play in contemporary theatre.
Augusto Boal’s Theatre of The Oppressed
Brazilian theatre practitioner Augusto Boal has forever changed the societal impact of theatre by developing his own methodology known as theatre of the oppressed. This session will focus on analysing different components of the theatre of the oppressed in both theory and practice as well as contextualising Boal’s work through understanding the work of Paulo Freire and bell hooks.
This final session will focus on the here and now. Using the knowledge you have gained so far and learning about contemporary political theatre-makers the participants will be given an opportunity to explore the socio-political issues of the world we inhabit through a variety of different methodologies whilst assessing and discussing what the role of theatre is in the modern world. The session will culminate with a small sharing of work.
Originally from Poland, Nastazja Domaradzka is a London based feminist theatremaker and director. She has worked both in the UK and abroad and was the founder and curator of HerStory: Intersectional Feminist Festival. Nastazja’s recent work includes collaborating with Middle Child on their Brexit cabaret US AGAINST WHATEVER written by Maureen Lennon, directing a feminist call to arms 10 by Lizzie Milton at Vault Festival 2019, directing the English world premiere of Stanislaw Wyspianski’s The Death of Ophelia at Shakespeare’s Globe and directing This Kind of Air by Romanian playwright Vera Ion at The Bunker Theatre. She directed Peyvand Sadeghian’s award winning show Dual دوگانه at Vault Festival and prior to the outbreak of Covid-19 directed Argentinian piece Invisibles by Lola Lagos, which never played to the public. Nastazja’s work is rooted in Eastern European practice through using theatre as the tool of resistance and amplifying under-represented voices. She holds an MA in Applied Theatre from The Royal Central School of Speech and Drama.